Hi sonnyglad you like.The music I'm mostly make is extended drone pieces usually clocking in at around the 30 to 40 minute mark. I love the deeply immersive nature of long drone pieces. The sleight of hand ways in which you can really take your time to develop changes in tension and texture almost to the point that you can fool the listener into thinking that nothing is happening when in fact at any given time there may be anything up to 20 or 30 individual sounds layered and cued to create a sense of timelessness whilst still developing and propelling the piece. My A Lonely Place album is a good example of this (and my most popular release to date)I mostly work to a music concrete template and I make most of my music using field recordings - these can be anything from nature sounds recorded around the country side where I live to the noises made whilst boiling a tin of heinz soup - or more 'musical' recordings of instruments (orthodox or otherwise) or site specific performances (one of my pieces contains extracts from a recording I made of me 'playing' the stones and rock pools in a local cave system). These recordings are then processed and edited together to create the final piece.

When I do the Phantasms tunes I am working both within a definite template (both conceptually and temporally) and also within a specific soundworld. I restrict my palette to sounds I consider characteristic of the period I am trying to recreate (the 1960s & 70s). I've started each of these Phantasms projects by sketching out a vague Dr Who-ish storyline to which i then try and produce a series of compositions to fit the mood of each scene. For the most part I try also to keep a melodic core to each piece. The obvious difference though is in the track timings - 40 minutes now becomes 40 seconds. I have to absolutely nail the right ambience from the off without any of the luxuries of the longform approach. I find this anything but easy. The 20 minutes of music on Phantasms II took me 8 months to fully realise, the first not much less, but both volumes were great fun to do.

Evening Whitechapel. The amazing dudes at Black Lantern Music have put my new Mild Maynyrd album on their label. If you've never heard my stuff I do Electronica/Hip-Hop type shit, how much or how little of each I'm not really sure of. Samples vary from Delta-Blues recorded in 1928 to Death From Above 1979 to 50's Swing. Instrumentation includes guitars, bass, MPC, turntables, my phone, synths and beyond.

It's a 14 track LP called Dead Herring. This is the cover (created by a friend of mine; this is his Tumblr):

Experimental, noise, soundscapes, etc. Music put up here is really just proof of concept and developing new techniques. Almost everything remotely presentable ends up on archive.org (see profile for full link). It's under creative commons, so remix away, and let me know.

A very short video of the view from the Garn Goch iron Age hill fort in the Brecon Beacons - with the track 'It's All Gone Wobbly' from my Phantasms album over the top. (which is pretty much how my head and legs felt after the trek up there)

I must share this with you guys: this isn't my album but "In the Heart of Zombie City" by THE WATERFORD LANDING is one of my favorite records that happens to be by some of my oldest and best mates in Miami, and I've watched it evolve over the last few years into something perfectly polished and gleaming:

A million flavors and echo all fucked-together into an end-of-the-world dark-newwave-shoegaze let's-party-while-society-burns-down kinda album. It's not a concept record but there are enough sound effects and dialogue snippets that a loose plot forms an "audio movie" through the album while your body's busy absorbing, twitching, gyrating.

Another free Kemper Norton e.p here. This time it's in protest at library closures in the IK , and the song titles are classified under the Dewey Decimal System. To find out what they're about ( if yuo like that sort of thing) , ask a librarian. All the best xx